THE ART OF NOISE offers an unprecedented collection of insightful, of-the-moment conversations with twenty-seven great British songwriters and composers. They discuss everything from their individual approaches to writing, to the inspiration behind their most successful songs, to the techniques and methods they have independently developed to foster their creativity. Contributors include: Sting * Ray Davies * Robin Gibb * Jimmy Page * Joan Armatrading * Noel Gallagher * Lily Allen * Annie Lennox * Damon Albarn * Noel Gallagher * Laura Marling * Paul Weller * Johnny Marr * and many more Musician-turned-author Daniel Rachel approaches each interview with an impressive depth of understanding—of the practice of songwriting, but also of each musician's catalog. The result is a collection of conversations that's probing, informed, and altogether entertaining—what contributor Noel Gallagher called "without doubt the finest book I've ever read about songwriters and the songs they write." The collected experience of these songwriters makes this book the essential word of songwriting—as spoken by the songwriters themselves.
Author: Luigi Russolo,Francesco Balilla Pratella,Ferruccio Busoni,Bruno Corra,Carlo Carrà
The music and noise manifestos of the Italian Futurists formed a blueprint for sonic warfare waged against traditionalism, a radical new agenda played out with machines primed for maximal acoustic destruction and aimed at the negation of all existing value systems. THE ART OF NOISE collects together these and other writings for the first time in English, showing how the origins of modern noise music actually date from a century ago, forming an invaluable insight into Futurist thought and its most enduring and relevant legacies, and revealing how an understanding of noise-art is key to a complete comprehension of Futurist painting. THE ART OF NOISE includes five key Futurist manifestos: Luigi Russolo's "The Art of Noises” and "The Futurist Noise Machines”, and Francesco Balilla Pratella's "Manifesto of Futurist Musicians”, "Technical Manifesto of Futurist Music”, and "Destruction of Quadrature”; plus Carlo Carrà's related sensory manifesto "The Painting of Sounds, Noises and Smells”; Bruno Corra's notes on "Chromatic Music”; proto-Futurist Ferrucchio Busoni's visionary and influential "Sketch for a New Aesthetic of Sound Art”; a historical introduction on Futurist music and its legacy; and a chronology of Futurist music and noise.
Warum die meisten Prognosen falsch sind und manche trotzdem zutreffen - Der New York Times Bestseller
Author: Nate Silver
Publisher: Heyne Verlag
Category: Business & Economics
Zuverlässige Vorhersagen sind doch möglich! Nate Silver ist der heimliche Gewinner der amerikanischen Präsidentschaftswahlen 2012: ein begnadeter Statistiker, als »Prognose-Popstar« und »Wundernerd« weltberühmt geworden. Er hat die Wahlergebnisse aller 50 amerikanischen Bundesstaaten absolut exakt vorausgesagt – doch damit nicht genug: Jetzt zeigt Nate Silver, wie seine Prognosen in Zukunft Terroranschläge, Umweltkatastrophen und Finanzkrisen verhindern sollen. Gelingt ihm die Abschaffung des Zufalls? Warum werden Wettervorhersagen immer besser, während die Terrorattacken vom 11.09.2001 niemand kommen sah? Warum erkennen Ökonomen eine globale Finanzkrise nicht einmal dann, wenn diese bereits begonnen hat? Das Problem ist nicht der Mangel an Informationen, sondern dass wir die verfügbaren Daten nicht richtig deuten. Zuverlässige Prognosen aber würden uns helfen, Zufälle und Ungewissheiten abzuwehren und unser Schicksal selbst zu bestimmen. Nate Silver zeigt, dass und wie das geht. Erstmals wendet er seine Wahrscheinlichkeitsrechnung nicht nur auf Wahlprognosen an, sondern auf die großen Probleme unserer Zeit: die Finanzmärkte, Ratingagenturen, Epidemien, Erdbeben, den Klimawandel, den Terrorismus. In all diesen Fällen gibt es zahlreiche Prognosen von Experten, die er überprüft – und erklärt, warum sie meist falsch sind. Gleichzeitig schildert er, wie es gelingen kann, im Rauschen der Daten die wesentlichen Informationen herauszufiltern. Ein unterhaltsamer und spannender Augenöffner!
Julian Barnes’ meisterhafter Roman über Dmitri Schostakowitsch Im Mai 1937 wartet ein Mann jede Nacht neben dem Fahrstuhl seiner Leningrader Wohnung darauf, dass Stalins Schergen kommen und ihn abholen. Der Mann ist der Komponist Schostakowitsch, und er wartet am Lift, um seiner Familie den Anblick seiner Verhaftung zu ersparen. Die Gunst der Mächtigen zu erlangen, hat zwei Seiten: Stalin, der sich plötzlich für seine Musik zu interessieren scheint, verlässt noch in der Pause die Aufführung seiner Oper »Lady Macbeth von Mzensk«. Fortan ist Schostakowitsch ein zum Abschuss freigegebener Mann. Durch Glück entgeht er der Säuberung, doch was bedeutet es für einen Künstler, keine Entscheidung frei treffen zu können? In welchem Verhältnis stehen Kunst und Unterdrückung, Diktatur und Kreativität zueinander, und ist es verwerflich, wenn man sich der Macht beugt, um künstlerisch arbeiten zu können? Im neuen Roman von Julian Barnes wird das von Repressionen geprägte Leben von Schostakowitsch in meisterhafter Knappheit dargestellt – ein großartiger Künstlerroman, der die Frage der Integrität stellt und traurige Aktualität genießt.
The slim volume of essays, presented here for the first time in English translation, is one of the significant documents of musical aesthetics of this century. If the book itself has remained the province of a mere handful of readers, its ideas, passed on through a variety of later musical and literary movements, became the inspiration for some of the most innovative artistic creations of modern times. Luigi Russolo anticipated-indeed, he may have precipitated-a whole range of musical and aesthetic notions that formed the basis of much of the avant-garde thought of the past several decades. His ideas were absorbed, modified, and eventually transmitted to later generations by a number of movements and individuals-among them the futurists, the Dadaists, and a number of composers and writers of the nineteen-twenties. The noise instruments he invented fascinated and infuriated his contemporaries, and he was among the earliest musicians to put the often-discussed microtone to regular practical use in Western music. Russolo's views looked forward to the time when composers would exercise an absolute choice and control of the sounds that their music employed. He was the precursor of electronic music before electronics had come of age.
Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread--to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or "sound bombs") over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations. Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture. Goodman concludes with speculations on the not yet heard--the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths
This oversized book is the comprehensive companion to the art and making of the The Venture Bros. and includes a foreword by Patton Oswalt! Ken Plume sits down with series creators Jackson Publick and Doc Hammer to have a conversation about the creation of every single episode through season six and much more. From the earliest sketches of Hank and Dean scribbled in a notebook, pitching the series to Cartoon Network's Adult Swim, learning the ins and outs of animation, character designs for each season, storyboards, painted backgrounds, behind-the-scenes recollections of how the show came together, it's all here. Features behind-the-scenes info and art covering every episode of all six seasons. Written by Venture Bros. creators Jackson Publik and Doc Hammer, with intro by Patton Oswalt. An all-encompassing look at the characters, art, history and influences of the beloved series. Never before seen Venture Bros. artwork!
Sound is all around. In movies. On TV. On the radio. Now the idea that sound can be an artistic medium in its own right is shaking the art world. Written by an authority in the field, The Fundamentals of Sonic Arts and Sound Design describes and begins the process of defining this entirely new subject. Topics covered include new and radical approaches to sound recording, performance, installation works and exhibitions, plus visits with sonic artists and sound designers. Designed for students, yet packed with exciting examples of the principles and practice of this new art form, this book is on the cutting edge where technology and art meet.
Sound is born and dies with action. In this surprising, resourceful study, Mladen Ovadija makes a case for the centrality of sound as an integral element of contemporary theatre. He argues that sound in theatre inevitably "betrays" the dramatic text, and that sound is performance. Until recently, theatrical sound has largely been regarded as supplemental to the dramatic plot. Now, however, sound is the subject of renewed interest in theatrical discourse. Dramaturgy of sound, Ovadija argues, reads and writes a theatrical idiom based on two inseparable, intertwined strands - the gestural, corporeal power of the performer's voice and the structural value of stage sound. His extensive research in experimental performance and his examination of the pioneering work by Futurists, Dadaists, and Expressionists enable Ovadija to create a powerful study of autonomous sound as an essential element in the creation of synesthetic theatre. Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre presents a cogent argument about a continuous tradition in experimental theatre running from early modernist to contemporary works.
Jens C.O. Nielsen,David Anderson,Pierre-Etienne Gautier,Masanobu Iida,James T. Nelson,David Thompson,Thorsten Tielkes,David A. Towers,Paul de Vos
Proceedings of the 11th International Workshop on Railway Noise, Uddevalla, Sweden, 9–13 September 2013
Author: Jens C.O. Nielsen,David Anderson,Pierre-Etienne Gautier,Masanobu Iida,James T. Nelson,David Thompson,Thorsten Tielkes,David A. Towers,Paul de Vos
Category: Technology & Engineering
The book reports on the 11th International Workshop on Railway Noise, held on 9 – 13 September, 2013, in Uddevalla, Sweden. The event, which was jointly organized by the Competence Centre Chalmers Railway Mechanics (CHARMEC) and the Departments of Applied Mechanics and Applied Acoustics at Chalmers University of Technology in Gothenburg, Sweden, covered a broad range of topics in the field of railway noise and vibration, including: prospects, legal regulations and perceptions; wheel and rail noise; prediction, measurements and monitoring; ground-borne vibration; squeal noise and structure-borne noise; and aerodynamic noise generated by high-speed trains. Further topics included: resilient track forms; grinding, corrugation and roughness; and interior noise and sound barriers. This book, which consists of a collection of peer-reviewed papers originally submitted to the workshop, not only provides readers with an overview of the latest developments in the field, but also offers scientists and engineers essential support in their daily efforts to identify, understand and solve a number of problems related to railway noise and vibration, and to achieve their ultimate goal of reducing the environmental impact of railway systems.
Eine glänzende Erzählung lässt uns die Geschichte des 20. Jahrhunderts über seine Musik neu erleben. Alex Ross, Kritiker des »New Yorker«, bringt uns aus dem Wien und Graz am Vorabend des Ersten Weltkriegs ins Paris und Berlin der Goldenen Zwanzigerjahre, aus Hitler-Deutschland über Russland ins Amerika der Sechziger- und Siebzigerjahre. Er führt uns durch ein labyrinthisches Reich, von Jean Sibelius bis Lou Reed, von Gustav Mahler bis Björk. Und wir folgen dem Aufstieg der Massenkultur wie der Politik der Massen, den dramatischen Veränderungen durch neue Techniken genauso wie den Kriegen, Experimenten, Revolutionen und Aufständen der zurückliegenden 100 Jahre. »Eine unwiderstehliche Einladung, sich mit den großen Themen des 20. Jahrhunderts zu beschäftigen.« Fritz Stern
Minóy is a rescue operation with several life rafts. Minóy-the-book provides an introduction and overview to the important noise music artist Minóy — the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy’s audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s. Minóy-the-CD+cassette+mp3s makes available nine of Minóy’s audio compositions that span the years 1985 to 1993. These were drawn from recently discovered archival material and selected by the editor and artistic director of the project, Joseph Nechvatal, in collaboration with composer Phillip B. Klingler (PBK). Klingler (co-producer and sound engineer) houses the Minóy archive and has re-mastered the tracks, most of which have never been heard before (it was thought that Minóy stopped recording in 1992). Minóy-the-book contains two written monograms of Minóy, one by close friend Amber Sabri and one by artist and art theoretician Joseph Nechvatal. There are three additional essays by Nechvatal, the first of which, “The Obscurity of Minóy,” recounts the history of the recovery of the audio material from obscurity. In the subsequent essays (“The Aesthetics of an Obscure Monster Sacré” and “Hyper Noise Aesthetics”), Nechvatal reflects on the artistic benefits of obscurity and situates Minóy’s deep droning palimpsest soundscapes within an original aesthetic-theoretical context of an obscure monster sacré, and also examines Minóy’s legacy in terms of current aesthetic responses to the surveillance state, couching Minóy’s mysterious and excessive compositions in terms of a general art of noise. In total, Minóy’s work undergoes a critical intricacy in terms of a contemporary art practice engaged in the fragile balance between production of, and resistance to, perceptibility. Nechvatal brings a subversive reading to Minóy’s work by presenting it as a form of hyper-noise artistic gazing, based in the flipping of figure and ground. The book also contains sixty black and white portrait images from the Minóy as Haint as King Lear series that photographer Maya Eidolon (Amber Sabri) created before his death in collaboration with Minóy (then known as Haint) and Stuart Hass (Minóy’s lifetime partner).
Overthrowing Your Empire of Noise Noise. It’s everywhere. Televisions blaring out commercials. Opinions shouted over the radio. The Internet and its unlimited distractions. All of the tasks and choices that you know don't really matter. Always intensifying, becoming a deep part of our everyday cycle, our now hurried lives. But often God speaks to us in the stillness. When Elijah needed to hear from God, God sent a fire, a quake, and a huge wind. But God wasn’t in the fire. He wasn’t in the quake. He wasn’t in the wind. God was in the whisper. But the noise hides the whisper. Life is a dangerous place when we are stripped of our ability to hear God clearly. During His time here on earth Jesus Christ was a master of noise. He balanced time healing, teaching, and feeding the multitudes with regular periods alone with His Father. Static Jedi takes a look at the life of Jesus to help you master the noise and distractions and live in clarity.
The Art of Linear Electronics presents the principal aspects of linear electronics and techniques in linear electronic circuit design. The book provides a wide range of information on the elucidation of the methods and techniques in the design of linear electronic circuits. The text discusses such topics as electronic component symbols and circuit drawing; passive and active semiconductor components; DC and low frequency amplifiers; and the basic effects of feedback. Subjects on frequency response modifying circuits and filters; audio amplifiers; low frequency oscillators and waveform generators; and power supply systems are covered as well. Electronics engineers, and readers with an interest in linear electronics design but with minimal experience in the field will find the book very useful.
Luigi Russolo (1885–1947)—painter, composer, builder of musical instruments, and first-hour member of the Italian Futurist movement—was a crucial figure in the evolution of twentieth-century aesthetics. As creator of the first systematic poetics of noise and inventor of what has been considered the first mechanical sound synthesizer, Russolo looms large in the development of twentieth-century music. In the first English language study of Russolo, Luciano Chessa emphasizes the futurist’s interest in the occult, showing it to be a leitmotif for his life and a foundation for his art of noises. Chessa shows that Russolo’s aesthetics of noise, and the machines he called the intonarumori, were intended to boost practitioners into higher states of spiritual consciousness. His analysis reveals a multifaceted man in whom the drive to keep up with the latest scientific trends coexisted with an embrace of the irrational, and a critique of materialism and positivism.
Thich Nhat Hanh präsentiert die wichtigsten Fähigkeiten bei der Kommunikation. Dabei kommt es auf das richtige Zuhören und Sprechen an sowie darauf, mit Mitgefühl und Achtsamkeit seinem Gegenüber zu begegnen. Ein Buch, das hilft, Missverständnisse zu vermeiden, Konflikte friedvoll zu lösen und mit einer effektiven Kommunikation sein eigenes Wohlbefinden und das der anderen zu steigern.
Niebisch retraces how the early Avant-Garde movements started out as parasites inhabiting and irritating the emerging mass media circuits of the press, cinema, and wired and wireless communication and how they aimed at creating a media ecology based on and inspired by technologies such as the radio and the photo cell.